Martha graham autobiography definition

Martha Graham’s Gilded Cage: Blood Memory—An Autobiography (1991) Empress Phillips Dance Research Journal, Textbook 45, Number 2, August 2013, pp. 63-84 (Article) Published get by without Cambridge University Press For addon information about this article Accession provided by Columbia University (23 May 2017 07:16 GMT) Copyright © 2013 Congress on Enquiry in Dance doi:10.1017/S0149767712000241 Martha Graham’s Gilded Cage: Blood Memory—An Life (1991) Victoria Phillips “I’m lone a bird in a shining cage, a beautiful sight do see.” —Martha Graham, in a-okay taped interview for Blood Memory1 istorians and dance critics akin to have used phrases from Martha Graham’s Blood Memory: An Journals (1991) as though it were written in her own inspire, despite concerns about the quotient of her authorship expressed repute the book’s publication and recurrent complaints from those who danced with her (Garafola 1993; McDonagh 1992).2 With little else unity go on, scholars (including myself) have quoted Blood Memory brand evidence to support their rationalization.

In Creating Minds: An Inspection of Creativity (1993), Howard Accumulator uses the book to discharge the mind of Graham style an innovator. Susan Ware, execute her study of twentieth-century body of men, quotes Blood Memory as apportionment of her analysis of those “who shaped the American century” (1998). Victoria Thoms deploys theories of “ghosting” to investigate Abolish Memory (2008).

Yet between 1989 and 1991, when Blood Recall was being prepared for make, Graham’s health rapidly deteriorated.3 Absolutely, these years mark a term in which Graham would be endowed with been little able to plain the rigors of crafting emblematic autobiography. H Archives, books, concentrate on oral histories suggest, in fait accompli, that a group including Bokkos Protas, Graham’s companion and collaborator, pieced together the narrative connect with former first lady and senior editor at Doubleday, Jacqueline Kennedy Onassis.

Reporting on a document submitted to Doubleday, Protas wrote soft-soap Onassis emphasizing his point ancestry capitalized letters, “JACKIE THIS Obey A MIXTURE OF MARTHA Pole ME TALKING . . .”4 Upon Graham’s death on Apr 1, 1991, the manuscript surpass “incomplete” Victoria Phillips received great B.A. followed by an M.B.A. at Columbia University.

While position on Wall Street, she stodgy an M.F.A. from New Royalty University followed by an M.A. in history and dance. Conclude present, Victoria is a student candidate at Columbia University, disc she is studying twentieth-century ethnic and political history. In 2008 she curated “Dance Is nifty Weapon” for the Centre Stateowned de la Danse and wrote the exhibition catalogue.

The demonstrate toured France until 2010. Intricate 2012 she co-curated “Politics scold the Dancing Body” at nobility Library of Congress. She has been published by The Additional York Times, Grant’s Interest Enlarge Observer, the CLIO History fence Recessions and Depressions (2000–2010), Spazio Umano, and The Crescent Discussion.

Her articles on dance fake appeared in American Communist Story, Dance Chronicle, Ballet Review, suffer Ethel Winter and her Show, En Dolor (2006). DRJ 45/2 • AUGUST 2013 63 Photo 1. Martha Graham holding Jennifer Hinkson Jackson, 1958. Reproduced revamp the permission of Mary Hinkson. (Lawrence 2011, 215).5 Transmissions in front of the publisher indicate edits censure the galleys as late makeover June.6 Doubleday “rushed to publication,” launching the book posthumously (Feldman 1991, 38; Kuhn 2010, 180).7 As scholars peer into Descent Memory looking for Graham, county show do we use the subject, which we can prove contains some of her words still cannot be trusted as evidence?

Arguments about self-editing and theories of authorship remain significant toady to the study of Blood Honour as autobiography (Barthes 1967; Physicist 1984; Jones 2009; Rapaport 2001). Evidence shows that Graham himself would have suppressed some disclosures. In tapes where Graham speaks about the autobiography, she ruminates, “I am not out dirty make a preach about ill at ease life.

Some of it has been wonderful and I’ve antiquated very, very fortunate. Some pleasant it I regret. The attributes which are, perhaps, too clandestine to ever reveal—one refuses be a consequence reveal.”8 The complexity of leadership autobiographical genre has naturally guide to concerns about “authenticity” snowball Graham’s authorship (Campbell 1997; nationalized Man 1979; Shapiro 1984; Stillinger 1991).

Regarding the debates remember Blood Memory in the Decade, one feminist literary critic organized that dance scholars “have slight or nothing to say ensue autobiography” (Heilbrun 1991, 16). Definitely, a feminist reading that asks questions about the porous environs of authorship seems apropos thanks to it can unpack the control in which the body becomes “engaged with the discourses disregard truth-telling and lying” 64 DRJ 45/2 • AUGUST 2013 (Smith and Watson 1998, 22).

Dancer knowingly engaged in such “discourses” when she wrote in give someone the boot notebooks: “I am a thief—and I am not ashamed. Comical steal from the best everywhere it happens to me—Plato—Picasso,” addition, “and Bertram Ross,” her longtime dance partner.9 Although Graham became mythologized in the mantra “movement never lies,” she knew say publicly power of untruths when redness came to producing compelling ballets and creating her public feelings.

In Ross’s unpublished biography a mixture of Graham, he reported her introduction declaring, “Truth. What is desirable wonderful about telling the truth? Anyone can tell the falsehood. It’s boring.”10 Regarding her the populace image, he wrote, “Martha decay the great image maker. She makes an image to fit, to suit the particular setting and time.

Everything is utterly calculated.”11 Other dancers also knew that she made her decisions “depending on what effect she wanted to achieve.”12 Although these practical and theoretical discussions definitely carry some merit (Landow 2006; Said 1985, 282), Blood Honour becomes destabilized as a subject because Graham neither molded primacy prose nor oversaw the athletic of the autobiography.

In 1989, Graham could only speak send off for an hour per day tote up gather material before she grew weak.13 While Graham’s choreographic master relied on her own firm hand to orchestrate artistic smattering and designers, with Blood Retention, a coordinated group organized spick convenient account of her life.14 In addition, phrases and sections marked in notes to representation Doubleday editors as “extra matter from Martha to be inserted in book” do not write down in Blood Memory.15 The keep afloat of the book’s history demonstrates that self-interested parties— perhaps scream always with her intentions welcome mind—sanitized her elliptical poetic definitions, excluded people (and even respite desired insertions), and embellished others.16 A Narrative Re-Construction By prestige late 1950s, Graham had reached star status among both interpretation intelligentsia and the public.

Magnify 1932, the John Simon Philanthropist Foundation had awarded Graham brush unprecedented fellowship in dance.17 Check 1937, Graham became the first “modern” dancer to perform recoil the White House (Soares 1992, 129).18 In 1944, Appalachian Issue premiered at the Library close the eyes to Congress, while the score tough Aaron Copland (originally titled “Ballet for Martha”) won the Publisher Prize the following year.

Bring into being 1947, Graham became the indication in an episode of ethics radio show “Miss Hush,” which was covered by both Take a crack at and Time magazines. The call-in winner garnered “the biggest confusion of prizes in radio history.”19 In 1955, Graham represented ethics United States in a Tributary of State international tour adherent the “Far East” and Persia (Prevots 1998, 45–51), finishing wonderful Israel with private funding.20 Legend surrounding performances included embassy dinners and Voice of America broadcasts.

In the domestic market, critics published lengthy reviews of have time out performances on Broadway and weaken American tours. Because of cobble together renown, publishers grew interested worry the prospect of a Evangelist autobiography. During the 1950s, Graham’s agent, Lucy Kroll, undertook honesty book project.

The publishing slog knew Kroll as the “red-haired, brown-eyed Lucy of the dejected dramatic flair” and a fierce contract negotiator (Haydn 1974, 293). Kroll began her search beg for an editorial partner for Gospeller. Many agreed that “Graham was too vain to use top-notch ghostwriter.”21 Kroll solicited Hiram Composer, a longtime friend.

Haydn’s label in the publishing industry unchanging him a logical editorial twin for Graham. He had false closely with William Styron company Lie Down in Darkness, put forward he had become known merriment the collaborative grace and rectitude “unique cooperation” he fostered betwixt himself and authors (Epstein 2007, 395).

In addition, with Douse Down in Darkness, Haydn difficult to understand demonstrated an ability to grasp the sexuality of Styron’s original while softening explicit passages (Calder 1996; Casciato 1980; Homberger 2009). Graham’s sex life included falseness with Louis Horst and boss divorce from Erick Hawkins, halfway other liaisons. Publishers surely knew that these affairs would confession most readers, so Haydn’s essay deftness would be needed.

Ultimately, Haydn’s temperament kept pace consider Graham’s. Haydn was known slightly a “high roller, a sport.” Like Graham, he took amour propre in his involvement with psychiatry as a “psychoanalysand” DRJ 45/2 • AUGUST 2013 65 (Epstein 2007, 397). In 1956, Kroll contacted Haydn to become ethics editor of Graham’s autobiography.22 Class following year, Graham signed precise contract at Random House round work with Haydn.

Although Kroll believed she had secured dinky tidy advance of $3,000, she and the publisher finally fixed on $1,000. Haydn left description timing of draft submissions take a trip Graham.23 Graham spoke elegantly sweettalk radio and television and lessening public about the United States and its dance, but frequent speech did not translate clearly into the written word.

Insult the monetary sum involved, Choreographer procrastinated until May of lose one\'s train of thought year, unsure of her gift to produce a book.24 Yet after meetings with Haydn, Evangelist did not generate a copy. Haydn pressed her about illustriousness timing of submissions with boss letter that opened, “I blight say that I am puzzled but undaunted—literally determined to strength some kind of answer culminate of you.”25 Kroll warned Composer not to push Graham, presentday Haydn relented.

As time accomplished, Graham began to feel renounce she should return the excitable. Haydn refused.26 In early 1959, he informed Graham that recognized would be leaving Random Dwelling to start a company stay alive two other partners, and guarantee he would like to provoke Graham along with him less complete the autobiography despite leadership fact that “she hadn’t impossible to get into a word of it.”27 They thus renewed their agreement socialize with the newly formed Atheneum Books in May of 1960.

Contempt the change, and the reality that Haydn showed his piousness in Graham by bringing crack up project with him, Graham enlarged to procrastinate.28 At the duplicate time as Graham remained incapable to write her memoir, shepherd hold on the public inspiration increased. Her book remained pride demand both domestically and internationally, as publishers abroad showed fretful.

Kroll, caught between Graham’s drowsiness and accelerating public enthusiasm, acknowledged to Haydn that “[t]he tome is nowhere near completion.”29 Invitation 1961, Graham alluded to dip deep fear of writing bracket asked for a tape wood to dictate her thoughts.30 Graham’s recordings and their transcripts became a central part of magnanimity creative process for fleshing give somebody the pink slip her autobiography.

Kroll relayed amplify Haydn: “I honestly believe stray Martha is closer to grandeur writing of her book more willingly than all of us suspect.”31 According to Kroll, with the bind recorder Graham experienced “for say publicly first time in her be in motion a feeling of her tangle and degree of enthusiasm handle do her book.”32 While decency taping process became productive renovation an initial phase, the publishers understood that the material would have to be molded bash into text for a final concoction written by Graham herself, nevertheless with Haydn on hand.

Composer and Graham found promise point of view trust in their relationship, teeth of persisting problems. Haydn wrote heed Graham, “She is perhaps greatness most electric person of clean up acquaintance. Her lithe movements, nobleness force of those eloquent seeing, her habit of dropping brew voice almost to a intimate when she has something enormously incisive to say—all compel excessive and sometimes dazzled attention” (Haydn 1974, 294).

In 1961, Kroll urged Graham to use notwithstanding at her disposal: “I maintain a feeling that with your lectures you are saying contact audiences what belongs in your book and belongs as unadulterated document for the whole artificial to read forever.”33 Yet stern a summer retreat with clean new tape recorder, her individual note reads, “Shape of book—nothing to see—just do it—machine nice.”34 In 1964, Haydn left Order Books and took Graham assort him to Harcourt, Brace & World.

He asked them get to buy out the contract ferry $1,000.35 Kroll reported that Choreographer had said, “Wherever Haydn goes, I’ll go.”36 Haydn brought nonpareil a select few authors affair him to the new firm (1974, 293). The Harcourt, Bolster & World agreement with Gospeller included two books: the journals and a book on afflict dance technique.

In order scolding propel the work, Graham offered Haydn access to her exceptional notebooks, which he then difficult to understand typed. Haydn, reflecting on authority first experience reading them, wrote, “It was a long lecture rapt evening. I stopped one and only twice—once to turn to Leonardo’s notebooks, once to those bring into play Dostoevsky.

Despite the differences be more or less their subjects, I saw fraudster obvious analogy: the artist turnup for the books work, the creative process tenderly revealed” (1974, 295). Inspired because of the “cryptic notations that spellbind as they bewilder,” he took the text to the broadcasting house (1974, 295).The additional album published by Harcourt would pass on The Notebooks of Martha Gospeler.

66 DRJ 45/2 • Reverenced 2013 In 1965, Graham’s representatives announced that “Martha’s fame has practically gotten out of hand.”37 Although the autobiography had call for been written, publishers considered bargain paperback rights. Yet in 1968, Graham tested the patience fence publishers when she told be over interviewer at The New Dynasty Times that she would conditions write an autobiography (Barnes 1968).

Kroll quickly worked to variation relations and wrote Haydn digress what Graham had “really said” was that she would not in any way write about her love affairs.38 Despite the new tape diarist, there was no work upcoming, and Graham again offered see to return the $1,000 advance. Testifying to his faith in rendering project, Haydn said he would wait, concluding, “However flamboyant she may seem at times, nearly is a final sinewy incorruptibility to her” (1974, 294).

Discard April 20, 1969, Graham fastidiously retired from the stage. Hoard the fall of 1969, Music wrote Graham, “I have elect to play it what Raving at least think is your way.”39 In November, Haydn wrote Kroll, “God knows I don’t want Martha ducking out champion repaying.”40 After Graham came close to death in a medical centre, she spent eleven months rehabilitate under the care of out longtime friend, Ben Garber.

Music suspended work on the carbon. While Graham recovered at Garber’s home, Ron Protas (who was eventually to renew the seamless project) often came to send them.41 By the early Decennary, Graham re-emerged in the citizens arena with Protas at sum up side.42 Harcourt forced Graham hopefulness make a decision about rectitude autobiography. Kroll promised Haydn dump Graham would “rededicate” herself come into contact with the project.43 In 1971, Gospeler returned to the taping dispute that she had begun hub the 1960s and recorded spread memories and thoughts on pack reels of doublesided tapes make Haydn (Haydn 1974, 294).44 Transcripts were made for Haydn, who, in turn, sent a included list of topics that prerequisite to be fleshed out, as well as information about Graham’s family, physical friendships, modern dance, and position use of Greek myths operate her choreography.

Indeed, point cardinal in one memo simply conjectural, “Tell, tell, tell.”45 Despite rendering ongoing process, Graham resisted magnanimity interview format. In response, Kroll wrote, “Martha said she would like to find her stop trading inspiration to tape her autobiography.”46 Harcourt Brace became H.B. Jovanovich (HBJ), and William Jovanovich began to shepherd the project.

Significant used his finest secretaries feel make the transcripts, yet as of the lack of negligible, his office labeled the scheme “Mickey Mouse.”47 Transcribers blamed Dancer for not speaking into honesty microphone. One asserted that Gospeler had said, “I want allude to talk about drugs.” Those in the interest Graham claimed that she locked away said, “I want to dissertation about glass.”48 In May 1972, Graham agreed to work instantly with a copyeditor to set up initial drafts.49 In 1973, Kroll arranged for Graham to finalize a new Sony tape official to inspire her work.50 Music wrote in his memoir, “As I write, we have transcripts of many of these [conversations], and the editorial work volition declaration soon begin” (Haydn 1974, 294).

Working with Haydn, Graham potential completed “Chapter One” and a-ok less polished “Chapter Two.”51 Decay the end of his lifetime, Haydn reflected on his walk off with with Graham: “Her variety seems to me that of nobility Bacchae: it has a fierce ecstatic quality” (1974, 297). Bankruptcy died in 1973, just end Harcourt published Graham’s Notebooks fell time for the fall advertisement shows.

The Notebooks came badly heralded, but with Protas on tap Graham’s side, the 1973 reviews of the entire Graham business grew mixed. The New Dynasty Post reported, “A New Boss—and Dance Company—Is Out of Step,” and Graham became celebrated since an icon of American direct rather than a cutting-edge innovator.52 Regarding the Notebooks, Kroll advocate Haydn’s role in the book remained largely unrecognized.

Protas escorted Graham to an author do to excess at the Waldorf, but Kroll had to request a appropriateness from H.B. Jovanovich.53 The exact became dedicated to Lila Solon Wallace, the co-founder of Reader’s Digest, philanthropist, and patron break on Martha Graham, whereas Haydn remained unmentioned as a critical capacity that had inspired the be troubled.

Although in later years Gospeler asked the publisher to throw out the dedication to recognize Music, it was not revised instructions subsequent printings.54 Interest in interpretation autobiography remained pressing. Kroll contrived with HBJ to search tend to solutions, and Graham remained dutiful to the memory of Music and what he had drained to accomplish with DRJ 45/2 • AUGUST 2013 67 her.55 Yet in 1975 Jovanovich wrote to Kroll, “I see pollex all thumbs butte way to rescue the Martha Graham autobiography (which at that point consists of no repair than 20 pages of passage from the 1971 tapes) devoid of Ron Protas’s help.”56 Evidence indicates that the material collected offspring Kroll included earlier transcripts, dignity “1971 tapes,” and the nobility “20 pages of text,” tempt well as the pages telling “Chapter One” and “Chapter Two.” The publishers forged a pristine plan: Protas would conduct efficient new round of interviews, splendid a writer would be leased to weave this testimony smash into existing text.

In 1979, via an interview with the River Times while the company toured under the auspices of ethics State Department (May 1979), Choreographer expressed her desire to create an autobiography as a restorative to unauthorized biographies. She exact not indicate that the delegation had begun, or that clean publisher had been hired. Rectitude project had clearly lapsed.

Fit into place 1983, Protas resorted to lawful counsel to reclaim all holdings from Graham’s agent and co-worker, Lucy Kroll.57 Despite the irregular near failures of the Martha Graham Dance Company, Graham’s acceptance as an icon gained strength under Protas’s watch. Although ham-fisted longer a cutting-edge innovator, Evangelist re-emerged as an American anecdote.

Andy Warhol made a progression of lithographs to raise way for the company. Her manner papered art collectors’ walls skirt those of Marilyn Monroe nearby Jackie Kennedy. Photographers took straight shots of Graham with Bianca Jagger and other luminaries; she was spotted, for instance, disapproval the famed Studio 54 floor show.

Couture designer Halston constructed take it easy company’s costumes, which included disinfected gold leotards. Under Protas, Gospeler forged alliances with Soviet defectors Rudolf Nureyev and Mikhail Choreographer. In a revival of Appalachian Spring, Nureyev played the Clergyman, while Baryshnikov premiered with rectitude company as the Husbandman trial run the American frontier.

Graham choreographed new works for both Russians as well as the fictitious English ballerina Margot Fonteyn. Gospeler appeared in a Blackglama mink advertisement alongside Nureyev and Dancer under the fur company’s 1 “What becomes a legend most?”58 By the 1980s, Graham’s restored public persona revitalized interest throw in the autobiography, and her accessible sought out publishers again.

Connoisseur and writer Francis Mason was a strong supporter of Gospeller and the Company, and previous first lady Jacqueline Kennedy Onassis became interested in publishing Mason’s work on George Balanchine indulgence Doubleday (Kuhn 2010, 167–8). Histrion seemed to connect the Evangelist project to Doubleday, although Onassis had shown interest in Gospeller independently at galas and extra events.

At this point, goodness history of Blood Memory becomes muddied by publicity surrounding justness project’s publication in 1991. Tho' taping for the autobiography locked away begun in 1961, during exhort interviews in 1991 Protas alleged that he had begun prestige process in 1979 (Feldman 1991, 38). He and authors credited him with having taken nobleness work to Onassis (Feldman 1991, 38; Kuhn 2010, 179).

Disdain the fact that Graham took an advance to write distinction autobiography in 1957, an illicit Onassis biographer claimed that “Jackie’s achievement was to persuade Evangelist to write her autobiography” (Kuhn 2010, 24). The fact glimmer that by 1989, two duration before Graham’s death, the complete had re-emerged (with Protas lower board) as a project pleasing Doubleday with the former Precede Lady and her editorial club.

Archives show that materials forwarded to Onassis eventually became stitched into the patchwork of justness text entitled Blood Memory. First, pieces sent to Doubleday charade the materials from three announcing houses; these were the property that had once been kept by Kroll and were following sent to Protas via her majesty lawyer, i.e., book notes, influence 1971 transcripts, “Chapter One,” have a word with “Chapter Two.” Other materials warp to Doubleday seem to possess included transcripts with no identifiable questioner and outlines.59 In give up work, Onassis received letters from Gospeller to her psychiatrist and transcripts of radio shows.60 Correspondence with the addition of Aaron Copland appears in blue blood the gentry book, and words spoken close to made-for-television introductions to dances tower virtually verbatim.61 In addition, transcripts were made of interviews conducted by Protas and Bianca Jagger.62 With these documents in share, the team went to out of a job.

“Chapter One” appears nearly honest-to-god as the opening pages practice Blood Memory, although “Chapter Two” seems to have been sliced into 68 DRJ 45/2 • AUGUST 2013 sections that unadventurous scattered throughout the book. Amuse 1989, a Doubleday representative identified as “Howard” spoke to Choreographer about “Chapter One.” A cross-reading of two biographies of Onassis’s career at Doubleday reveals delay “Howard” must have been Player Kaplan.

He wrote entries stand for The Encyclopedia of Dance brook may have been a presenter to Francis Mason’s well-regarded Choreography Review (Kuhn 2010, 180).63 Protas opened the discussion between Gospeller and Kaplan: “So I accompany we’d start with the preamble you wrote,” he noted, referring to the phrase that unbolt both Blood Memory and counterpart own Chapter One—“I am pure dancer.”64 As the project lengthened at Doubleday, Onassis actively intervened to finish the book, until now Protas seemed (to some) check in remain an overseer of justness materials and the project.

Protas wrote to Onassis, “I recollect when you tried to conserve Martha on a particular affair when you visited her sunny (I wasn’t there) and she went merrily on her fragment way.”65 No transcript shows Onassis interviewing Graham or discussing information for the book with Revivalist in letters. Rather, in certain correspondence, Onassis relayed questions industrial action Graham through Protas.

Protas wrote to Onassis, “Now to your questions,” and promised that noteworthy would have Graham speak look on to her Zen master.66 Later transcripts identified this person as “Ramiel McGehee,” whom Graham had disclose in the early 1930s. Public Memory cites the Zen master’s influence, although it does pule offer his name or rank details of his relationship cop her.67 While his name psychiatry not specifically mentioned, many stars, including Madonna, get their theory test.

Kaplan shared drafts and became the conduit between Protas view Onassis.68 No letters can tweak found between Kaplan and Choreographer. Regarding Graham’s elliptical writing shaft “Chapter One,” Kaplan reported terminate to Protas: “Jackie said put off the preface was wonderful nevertheless it’s a very difficult emphasis that’s used.”69 Later notes sign on Graham’s use of dialect in tapes: “bad grammar,” “awkward,” “(???),” and even “CLICHÉ.

CLICHÉR.”70 Kaplan explained to Graham, “But sometimes I, too, make much a mess by overspilling, add-on then the whole idea pump up to clean up at blue blood the gentry end and make [it] nice.”71 Yet “making it nice” additionally included producing the hand blond Graham as author. The pages written by Graham, marked “Chapter One,” nearly match the say again of the printed autobiography.

Until now an extra sentence in that portion of Blood Memory begins, “Even as I write. . .” (Blood Memory 1991, 4).72 The added tag seems form establish the remaining pages makeover Graham’s text. Ironically, it was one of the few phrases that she did not manage herself in “Chapter One.” Similarly the book progressed, editors inserted materials, mimicked, toned down, gain spliced Graham’s voice to run the book for publication.

End Graham’s death in April 1991, Doubleday rushed to meet gloominess publishing book fairs. The Spanking York Times reported, “The ripe manuscript was delivered to Wife. Onassis at Doubleday in January” (Anderson 1991, B5). Archives instruct otherwise.73 Protas’s lawyer had sued Kroll for papers related give explanation the book project dating stranger 1957, yet Protas told resourcefulness interviewer, “A lot of everyday in publishing had asked recede to write her memoirs bring to a close the years, but she each refused” (Feldman 1991, 38; Chemist 2010, 24).

Protas described glory book as a dialogue among Onassis and Graham—“these two friends.” However when a reporter guard trade publications attempted to examine Onassis about the project astern its publication, she was kept regarding the specifics. Onassis was described as “in awe refer to the project,” yet her single response to questions was have it in mind display a piece of enervate given to her by Revivalist (Feldman 1991, 38).

Although rank efforts of Protas and Doubleday to construct Graham’s autobiography package certainly be understood as forced by an altruistic desire be perpetuate her legacy, financial booty may also have been on the rocks motivating force. Press releases advertised the book as a “celebrity tell-all.”74 The New York Former noted that the work was “chock-full of anecdotes about other better known students, including BETTY FORD, WOODY ALLEN, GREGORY Plain, and MADONNA” (Anderson 1991).

Onassis’s biographers have noted that she certainly appreciated dance, yet besides looked for titles that would sell (Kuhn 2010, 55–6). Meet publication of Blood Memory, ethics press for the trade proclaimed, “[Doubleday] always felt it confidential a bestseller on its hands.” According to the DRJ 45/2 • AUGUST 2013 69 press, the publishing house cited transalpine interest, claiming that “the publication situation is very heated” (Feldman 1991, 38).

The promise work at Blood Memory, and the carcinoma future profits from royalties trip the sale of the unqualified to producers, would have seemed significant to both Doubleday captain any heirs to Graham’s big bucks. All in all, reviews were mixed. The Atlantic Monthly baptized it “refreshing” and observed, “Like all good autobiographies it contains crystals of cultural history” (Jacobs 1991, 41).

Publishers Weekly at the start printed a long, largely unequivocal article outlining Protas’s history jump at the book. The publication following criticized the work’s promotional tone: “Given to name-dropping in squash account of her last majority, Graham all but loses perception of the roots and sensitive of her enormous gifts.”75 Discern The New Republic, Mindy Aloff (1991, 29) pondered the ban of mythic stories in what she called “Graham’s Graham.” She advised readers looking for “the lowdown on tough subjects Gospeller glosses over—her love affairs, any more alcoholism” to buy Agnes comfy Mille’s biography of Graham (Aloff 1991, 29).

After initial popular fell flat, Publishers Weekly lamented the opportunity lost when Dynasty Memory “passed over” her progenitive life “with regrettable speed impressive discretion.”76 Dashed hopes of bestseller status foiled plans to dispose of the book to Hollywood compilation Broadway, for shows such sort “Martha, the Musical.”77 Dancers distinguished the academy remained skeptical, while polite.

While Stuart Hodes favourably retraced Graham’s genius with jurisdiction review, he regretted the brushoff of anecdotal stories, including graceful moment when Graham, in shipshape and bristol fashion fit of rage, threw go backward dachshund at her mentor Gladiator Horst, then gave the accompany to actress and longtime admirer Katharine Cornell.78 Historian Ann Daly politely noted that the publication added to scholarship (1992, 1228).

Don McDonagh called it “lightweight” and added that it dissimilar sharply with the power conjure Graham’s work and career (1992, 350). Alice Helpern summed fleece the problem when she wrote that the celebrity run-down established “objectionable material” (1992, 39). Happening a prescient analysis, Lynn Garafola wrote that the work “seems cobbled together by hands blemish than the author’s” (1993, 167).

Historians and reviewers understood renounce the book was thin unsure best. Despite uncertain literary spread scholarly integrity, Blood Memory has become a must-read, but greatness text remains a quagmire. Like chalk and cheese insiders and senior scholars feign to exclaim, “Well of range Martha didn’t write Blood Memory,” other historians and those unattainable the field take the beyond description, the construction, and the revelation shape as the artist’s collapse.

Indeed, assertions about Blood Recall have recently been perpetuated wear two published volumes on Onassis’s career, one of which was published by Doubleday itself. Nevertheless, evidence suggests that Blood Honour must be understood as tidy creation with questionable scholarly pulling. Scratching the Surface Cross-readings medium archives reveal myriad questions become peaceful opportunities for future work.

Interior I argue three points. Pass with flying colours, the individuals who constructed rectitude narrative sanitized Graham’s oral testimony.79 The process robbed her blatant of texture and nuance. Truly, the marginalization of Graham began with the oversimplification of in exchange ruminations on “blood memory,” significance idea that frames the manual with its title.

Second, dignity simplification of Graham’s recovery shake off alcoholism and her childlessness undermines her distinctive and complex anima, which had fueled her expertise. Finally, men who had archaic instrumental in Graham’s career were written out of the narrative; these included, but were shout limited to, Francis Mason, Elevation Garber, and Bertram Ross.80 Cheeriness, Protas and editors at Doubleday wiped Graham’s oral testimony comb in order to manage Graham’s “very difficult tone.”81 Even dignity title of the book betrays the sanitizing of her improvise.

The phrase “blood memory” difficult deep meaning for Graham. Separate the relatively clear, two-paragraph-long utterance of its meaning in influence book—along with some additional, diffusive, and somewhat trite references—Graham was never simple, straightforward, or short in her 70 DRJ 45/2 • AUGUST 2013 definition follow the concept in the tapes made for the autobiography accost Protas.

The printed page comprehends, “Each of us from pungent mother and father have old hat their blood,” and concludes, “We carry thousands of years be snapped up that blood and its memory” (Blood Memory, 9–10).82 As authority narrative unfolds, the text still shows Graham equating herself laugh an artist with a harass, “a strong golden retriever” defer “retrieves things from our gens memory” (16).

The two mocker references to the concept call writer Joseph Campbell and Isamu Noguchi who “directed our gens memory” (163, 223). In ethics 1971 tapes for Haydn, nobleness subject did not come jack up. In the later interviews seam Protas, Graham could indeed expire testy regarding the subject. Conj at the time that Protas remarked to Graham, “I’ve never gotten you to cloak-and-dagger what your belief is draw out blood memory,” Graham replied, “I don’t think that I could describe it because it progression just something that just is.” When Graham was prodded substitution the question, “How do complete describe blood memory to your class?” Graham retorted with exceptional single sentence, “I say abolish memory.”83 Graham’s unwillingness to cooperate the subject dissipated after goading questions.

Indeed, her elucidations cut into blood memory occupy pages gaze at pages of later taped testimony; however, some of this information contradicts Blood Memory. When recognizance whether Blood Memory was topping product of her parents, she said, “Just your mother existing your father? Oh no, uncongenial no means.” In addition, Slaying Memory sanitized—or did not include—her poetic verbal phrases and sequences: “It has left on me[,] for gesture[,] for movement[,] bring the seeking of strange[,] make out unvoiced truths [—] and Uproarious call it ‘blood memory’ as it goes beyond the mind[.] [A]s it exists in particular individual it exists in time.”84 Graham dancers remember her miming the slitting of her wrists and bleeding onto the forest of Studio One’s wood floor.85 For Graham, blood memory was messy and complex.

However, honourableness publisher did not have these paradoxes in mind.86 Graham’s uttered testimony appeared chaotic; her idiom would not promote a President Avenue construction of the female as icon. Graham’s description parliament the printed page could mass package her in Warholian footing. Graham’s delicate and poetic ellipses were deleted even when record text reinforced well-known stories, nonstandard thusly leaving the text predictable, bathe a exhaust, and sterile.

Blood Memory recounts Graham’s oftenrepeated story of rectitude Art Institute of Chicago amusement the 1920s. She is whispered to have written, “I close to fainted because at that sec I knew I was slogan mad, that others saw greatness world, saw art, the plan I did. It was surpass Wassily Kandinsky, and had smart streak of red going liberate yourself from one end to the blot.

I said, ‘I will shindig that someday. I will fake a dance like that’” (98). This story has become custom. Yet when Graham recalled high-mindedness Chicago museum in the 1971 taped interviews, she included Vincent Van Gogh and Pablo Sculpturer and did not speak miscomprehend Kandinsky, whose work she possibly will have seen later.

Indeed, pattern historians do not believe well-organized Kandinsky hung in the League at the time that Gospeller claims she visited the collections.87 Blood Memory does not keep you going any reference to Picasso eat Van Gogh. Although dance historians have noted parallels between Gospeller and Picasso—particularly with their Nation Civil War pieces—the coalescence cherished artistic vision has been attributed to an assumed Zeitgeist.

Satisfy some cases, entire portions disagree with Graham’s relationship to the performing arts and the mechanics of activity were deleted in order support preserve her stature as clean genius with inexplicable powers. Allowing the autobiography remains true resume Graham’s self-effacing approach, Blood Honour shows Graham ruminating about “genius” on stage: “[A] person get ready stage who has this undividedness with himself—it is so illustrious it has the power distribute stop you.

It is regular common gift to us complete . . .” (16). Manifestation the 1971 tapes, however, Evangelist gave the listener more specific images and a more convenient approach to her art. She revealed the step-by-step process stroll takes the performer from nobleness mundane to the sublime. Crowning, she noted how she entered the theater: “Every performance dump we do now is unexciting a new place.

I active in the front and rein the sight lines completely championing every dance,” adding, “I swap this every time.” She normal the stage “so that picture audience can participate, because what you’re doing in the theatre-in-the-round, you’re not doing a monologue.” Graham then launched into glory specifics of performance, “You’re evidence a dialogue.

You’re conversing, you’re talking to somebody. And they’re talking back to you,” captain concluded, “and that is reason the ritual of beauty, take up I use that term bargain deliberately is, for me, topping sacred act of communication.”88 DRJ 45/2 • AUGUST 2013 71 In addition to removing aspects of Graham’s work, Blood Recall masks Graham’s long-term battle shorten alcohol.

It constructs Graham’s imbibing as a reaction to rank loss of her performing career: “I stayed home alone, account for very little, and drank likewise much and brooded” (237). Much the Doubleday transcripts date illustriousness beginning of the problem in the vicinity of events more than two decades earlier and the destruction signify her marriage to Hawkins.

They read, “Final break with Eric[k],” followed by, “Drinks more roost more.”89 In correspondence not target in Blood Memory, Graham alleged herself six years after their marriage ended: “I find human being still arranging my house, doubtful clothes, my face, my figure, my state of heart survive mind to meet Erick.” Spirits entered her writings as deft metaphor.

Writing about her indeed relationship with Hawkins, she ancient history, “The world knows that surrounding is some such wine persuade somebody to buy celebration which at times begets me warm and a diminutive drunk.”90 Regarding her loss, she wrote, “Sometimes tears run d[o]wn inside your face but drift is for you to drink to.

. . .”91 In counting, outlines for the book (and perhaps a movie based take the chair Graham’s life) include a sequence of Graham’s father’s increasing pervade of alcohol as she was growing up.92 Although the adverbial phrase generally credited to him—“movement on no account lies”—never appears in Blood Retention, he remained the character who taught her that the thing tells psychological “truths.” In position transcripts, she recalled that afflict father told her, “Just recall this all your life, command must tell the truth.” She reflected, “I have never completed the vividness of that moment.”93 His influence remained seminal.

Their shared desire for alcohol (and the physical expression of neat effects) certainly would have back number an important exploration of nifty “blood memory.” In plans famine an autobiographical work, Graham seemed to become willing to commune about her problem, and still a lineage of alcohol vituperation. Yet when Protas wrote Doubleday, he noted, “I think goodness questions about drinking are exceedingly exaggerated.” In another instance appease wrote, again in capital longhand, “MARTHA NEVER DISCUSSED HER Crapulence.

AND ACTUALLY IT NEVER GOT IN HER WAY OF Fulfilment. BUT SHE TURNED TO Encourage MORE AND MORE.”94 Here, admit allows us to understand goodness “woman as artist” (Leatherman 1966). Blood Memory’s claim that rectitude loss of her performing lifetime led to Graham’s substance train obscures a reading of integrity choreographer who had used exceptional turmoil and uncontrollable excesses raise inspire her work well beforehand 1970.

Indeed, Clytemnestra (1958) serves as an unmistakable example hill how Graham used alcohol explicate inspire her work. In 1971, she recalled her use be beneficial to alcohol as inspiration. Speaking jamming the recorder for Haydn ray describing her creative process, she warned, “Do not drink also deeply because then you dreamy everything. If you drink moreover deeply then you just come up against to sleep.

You don’t take apart anything.” Then, regarding her incentive, she said, “If you don’t drink too deeply, then bonus some particular moment something hit it off through and animates you.”95 At hand the making of Clytemnestra, dancers remember Graham drinking more heavy, which may have inspired prudent to confront the effects lay out alcohol head-on in her show.

In Graham’s rendering, Aegisthus, Clytemnestra’s lover, introduces a chalice filled with wine in Act II. After they murder Clytemnestra’s bridegroom, the act closes with “the drunk scene.”96Aegisthus enters staggering, standing Clytemnestra’s torso contracts and meander as she stumbles on plane. They perform a duet filled with gestures that mimic their sober characters; Clytemnestra falters tube then falls onto an bent, flat platform—the symbol of their bed.

After Aegisthus exits, Clytemnestra wraps herself in a blissful sheath; she defiantly staggers rearmost to her throne, followed, difficulty the shadows, by the govern of the muscled, seething flavorlessness of Death. Act III opens as Clytemnestra writhes in dexterous series of contractions, eyes done, tangled in the red the religious ministry that reveals only her mind.

After her solo, the harmony enters, telling of impending capital as she sleeps through character remains of drunkenness. Graham’s help out of Clytemnestra and the saltation of the “drunk scene” reflected reality during the 1962 Tide Department tour; one dancer wrote home, “Martha was so canned in Clytemnestra in Munich put off she fell into the maximum, completely disappeared & then hide back on the stage—She was still drunk the next day.”97 Bertram Ross also mentioned significance event in his writings.98 72 DRJ 45/2 • AUGUST 2013 The United States Information Unit dispatches back to the Say Department refer to her “exhaustion.”99 Yet after her recovery direction the 1970s (when government agencies vetted her for awards), Graham’s FBI file reports that interviewees consistently repeated the phrase, “Martha Graham does not abuse alcohol.”100 The FBI witnesses used high-mindedness present tense.

When Blood Retention drew close to completion, the cup that cheers remained in Graham’s past solitary. Despite her ruminations on strap, and in clearly written outlines that noted the influence comprehensive alcohol on her life, those managing the project would shout tackle the subject. Now, industrial action access to the taped interviews, historians can use the complexities of her long-term struggle free alcohol to unpack her show.

Blood Memory also simplifies Graham’s decision to remain childless, which has inspired mythic lore to a certain extent than insights into her handicraft. Historians cite Stark Young: “I’m afraid she’s going to earn birth to a cube travesty stage” (Foulkes 2002, 40). Persons Memory mirrors this straightforward—even comic— depiction of Graham as unmixed non-mother.

In the book, she is depicted as assured, painless, and unreflective: “I knew Distracted had to choose between efficient child and dance, and Uncontrolled chose dance (160). However, Graham’s in-depth taped testimony for honesty autobiography in 1971, as come after as the interviews with Protas and Bianca Jagger, document illustriousness complexity of her relationship pause motherhood.

Thus her choice sprig be recognized as complicated topmost painful but can also examine seen as a fuse be thankful for her creativity. In the 1971 Harcourt interviews, Graham spoke confiscate her childlessness during a incision in which she attempted academic define the very core remove her technique—the contraction and unbind. The interviewer asked her not the technique of contraction bear release came from Denishawn.

She replied that the technique “comes from the time the first baby was born out bad buy a mother’s womb.” During say publicly interview, she slipped and whispered, “When I did it,” weather then corrected herself, “when Unrestrained recognized it.” Graham continued, “I’ve never had an experience sponsor birth.” She concluded with well-organized description of the physical mode of birthing, and how quicken molded her technique of condensing and release.

She said, “This is fundamental.”101 On tape fasten 1990, Graham was asked, “Did you ever wish you esoteric a child?” She reflected, “I had known I would battle-cry be a good mother.”102 To some extent than choosing a life be the owner of dance over motherhood, Graham apothegm a flaw in herself. Notwithstanding silent about feeling a mother’s passion or regret in Populace Memory, Graham wrote to glory mother of her godchild, Martha Graham Weisman: “It was your great privilege and terror commence bring THE CHILD into class world.

I am certain prickly may have been afraid. Beside oneself have never known that involvement and have missed a good part of life. But Raving can imagine that there assessment desire and terror and finally exhaustion and finally fulfillment noise the heart.”103 Despite the laconic statements regarding mothering attributed foresee Graham in Blood Memory, near can be no doubt turn the complexity of these issues and physical realities influenced disallow oeuvre.

In the early tapes, Graham also connected her ertile marriage to her failed satisfaction with her younger husband Saxist. Through the 1971 and afterward tapes, critics can glean discernment into Graham and Night Travel (1947), the story of Oedipus that she choreographed in give someone the boot 50s while she and Privateer shared intimacies.

In 1971, she discussed the potent imagery give evidence the child and the store as a choreographic inspiration. Considering that speaking about Night Journey particular Haydn, she recalled, “Every woman’s husband is her child balanced some time,” and said simulated the work, “I hear grand cry and the cry in your right mind the cry of a minor, my child, who is packed together my husband.”104 In the next tapes she mirrored these ideas: “I do know I own acquire never had a child, on the other hand I did have a hubby.

In a way every lass . . . her keep is her child.”105 Although she was certainly past childbearing withdraw by the time she decrease Hawkins, we must question after all the dynamic of the left out child (Oedipus) and the extracurricular reunion of the mother peer this younger lover inspired prudent choreography. Of her character, Jocasta, Blood Memory reads, “She curves to the back, pulls justness cord around her neck” (Blood Memory, 216).

Yet the contents is cut short. Graham asserted the lovemaking scene in spread testimony: “There’s another moment invite privacy. It is when tea break young husband, he seems be proof against lay across her knee in the same way though she were rocking him, and she hears in put your feet up imagination a baby cry.”106 Class transcripts demonstrate that she asserted herself as Jocasta and mother: “Frantic with this umbilical profile in her hands.” DRJ 45/2 • AUGUST 2013 73 Graham concluded, “It is from think it over moment that I have disused the dance.”107 Conflict, not inexcusable resolution about motherhood, became ineradicable in Graham’s Night Journey.

Ethics book, however, wipes away that evidence. The complex issues preceding motherhood in Graham’s life see work challenge the simple clauses provided within Blood Memory. In the end, Blood Memory removes the affinity of the career-building influence indicate Francis Mason, Ben Garber, pole Bertram Ross. Although the cleft of the book thanks Craftsman as one “who helped new start up again,” the engrave professional and financial support lose one\'s train of thought he offered is never picture in the body of excellence text.

Since Mason provided rectitude link between Graham and Doubleday via Onassis, the omission becomes particularly poignant. In addition, inaccuracy had worked tangentially with Kroll to support Graham with representation early book project.108 Graham’s interviews with Mason during his tremendously celebrated series on dance frank not make it into Cart off Memory, although Blood Memory’s editors used transcripts of radio interviews from shows such as That I Believe.109 Commenting on probity book, Mason revealed that “Protas was in the middle in the middle of Jackie and Martha.” He acknowledged that Protas had “manipulated” Dancer (Lawrence 2011, 214–5).

The ever-genteel Mason even referred to Protas as a “jackass” (Lawrence 2011, 214).110 As much as Artificer appreciated Protas’s revival of Choreographer as an American icon, take action spoke his mind in disclosing the pitfalls of Graham’s dependence on others regarding the rework of Blood Memory. Mason’s calling helped pave the way be thinking of Graham.

After World War II, he had worked for Expression of America and later in the same way a cultural attaché for probity State Department. His influence skate government projects certainly helped Dancer as she recorded Voice lady America programs and garnered cosmopolitan touring work for the ballet company. Graham’s State Department tours star stops in posts Mason locked away occupied such as Belgrade (1962) and London (1967).

By 1972, when Graham emerged from distinction hospital, she had lost trustworthiness with “Washington.” Consequently, lucrative Induct Department tours (such as those that, in the past, esoteric created international recognition and familial exposure) could not be booked.111 Yet Mason, as a well-regarded and long-time member of blue blood the gentry Foreign Service, encouraged the Bring back Department to send the Dancer Company on its lucrative cord of Asia in 1974.112 Very importantly, Graham’s company could classify have survived financially without Histrion.

He became chair of representation Graham board and steered excellence company through numerous near catastrophes that would have forced douche to disband had it mass been for his personal loans of millions of dollars. Rank debt remained in the Gospeller accounting books for decades.

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Mason was never repaid in cash. Mason called Choreographer “a treasure, a joy oppress my life.” In addition outdo providing credibility and financial equipoise for the company, he generated domestic publicity through WQXR broadcasts. When Mason asked questions, Choreographer spoke eloquently. He elicited responses from her in which bodyguard complex ideas (including those pounce on music) became solidified through discussion.

Indeed, the matter of Graham’s use of music remains adroit weak point in Blood Remembrance, which trivializes her treatment rivalry composition, sound, and rhythm. Call Graham, in the text, Edgard Varèse “opened up new areas of musical strength in picture way he used percussion” means Graham, but the book does not discuss Graham’s use position percussion in her choreography (Blood Memory, 15).

In other passages, thoughts become diffuse: “I don’t know how I reacted out for the count by beat to the masterpiece, but I moved” (61). In re the complexity of her compositions: “I think it’s important conformity state that the dance does not interpret the music; character music is a setting make up for the dance” (224). Quotes free yourself of Graham’s correspondence with Aaron Composer unpack the subject in interpretation greatest detail.

The most thorny tidbit offered to the reverend is this: “I don’t look at carefully from counts. I have neat as a pin very physical memory. I disused from body phrase” (231). Until now if Mason had been be a factor in the text beyond character epigraph, Graham’s responses to her majesty questions would have enriched significance book.

Mason prompted the shadowing response from Graham on WQXR: 74 DRJ 45/2 • Honorable 2013 And it’s only moisten doing a counterpoint to nobleness music that you really generate out the complexity either vacation the dance or of glory music. Because if you preparation too slavish to the opus, then you are lost. Drift is, if you reach towering when there is a lanky note or low when in attendance is a low note, slab so on.

I do comprehend the rhythmic thing in direct is not as obvious chimpanzee it [is] sometimes made. Splendid I know the rhythmic breakdown is a very subtle, debilitated, and complex thing, and off and on one should not be wise of it at all dick more than one is rise of one’s breath.113 In Get Memory, the text credits Protas as being the man who would best understand her direct legacy (10).

The elegant responses elicited by Mason challenge that position. In addition to rendering minimization of Mason’s work pick out Graham, Blood Memory does whoop mention the influence of Graham’s professional supporter and friend, Munro Garber, whose inclusion would possess offered a more nuanced recall of her. Garber arrived delay the Graham School after Sphere War II.

Once, in aweinspiring, she sternly warned him be relevant to find his passion, which she did not believe was glint. After working with other choreographers including Merce Cunningham, Garber erelong realized that he should call for be a dancer. Yet rulership devotion to Graham endured fend for he became an interior designer to the financial elite.

Garber introduced Graham to numerous benefactors in the 1950s and Decennium, for which he was troupe credited. In the 1971 tapes, Graham recalled Garber’s influence work her company several times, even he is never mentioned person of little consequence the book.114 Garber’s annotated simulate of Blood Memory offers perception into the book.

Garber absolute Graham’s encounters with Lila Atcheson Wallace (who was responsible apply for giving Graham the building abuse 316 East 63rd Street). Beginning a description of a relaxed dinner in Blood Memory, Insurgent drinks from “a beautiful funds cup, given to her spawn the Egyptian government,” as the brush husband asks Graham, who evenhanded wearing a Dior gown, variety kick her leg over jurisdiction head.

Garber, who was existing at this dinner, noted, “This is all wrong. NEVER.”115 Garber made similar comments about Graham’s reported encounters with his else clients, including Doris Duke view Diana Vreeland.116 Garber became spick close friend of Isamu Sculpturer, the sculptor and longtime Choreographer collaborator, yet this tie goes unmentioned in Blood Memory.

Garber’s annotations regarding Graham’s relationship join Georgia O’Keeffe challenge the contents, while supporting the assertions commentary other authors and narrators. Measurement Blood Memory recounts that Dancer and O’Keeffe were not “close friends,” Garber maintained that they were never friends at all.117 Indeed O’Keeffe’s open hostility repute Graham has been documented razorsharp oral histories.118 Regarding Graham’s “collaboration” with George Balanchine on Episodes (1959), Blood Memory reads, “Mr.

Balanchine was so wonderful pick on work with, considerate and concerned—a joy to be with” (235). According to Agnes de Mille (however questionable as a biographer), as well as numerous different historians, the Lincoln Kirstein–managed array between Graham and Balanchine task known to have been on the rocks collaboration in name only.

People conventional beliefs, Garber wrote condemn Blood Memory’s presentation of say publicly Graham– Balanchine collaboration: “All deadly this is hooey.”119 Garber accomplished his annotated copy of nobleness book with the words: “This is not Martha telling back writing.”120 Most importantly, Garber’s registers complicate Blood Memory’s story register Graham’s straightforward recovery from boozing.

Blood Memory reads, “The easiest part of recuperating was followers the doctor’s orders,” adding, “Dancers are trained to be tractable fearless, to follow a regimen.” Representation book triumphantly concludes, “To have time out drinking was not a problem” (237). Like the Minotaur restrict Errand into the Maze, Garber shows that the woman’s struggle against and conquest did not disturb merely shooing off a barbarian.

In his annotated Blood Reminiscence, beneath the line “To cease drinking was not a problem,” Garber wrote, “Oh my God.” 121 His larger archival slash demonstrate Graham’s humanity, her protest, and her power to trounce the disease of alcoholism call because of the ease keep in good condition discipline, but because of neat rigors. In the late Decade, Garber recognized that “she was drinking so heavily that hold was killing her.”122 After Revivalist left the hospital, Graham convalesced at Cross Rivers, Ben Garber’s home.

Pictures of her convalescent in Garber’s house show straighten up frail and wounded woman, DRJ 45/2 • AUGUST 2013 75 covered with blankets on ending antique daybed.123 After Garber basement “a little bit of inebriant, a little bit of sherry” hidden by Graham in tiara potted plants, he called interpolate doctors.124 Graham finally agreed succeed to stop drinking completely.

Garber’s comrade recalled, “They had a schedule. She loved to read stomach wherever they were, they’d comprise to bookstores. In the mornings, he’d bring her just glory right kind of healthy feed. And then, later in probity day, she would move deal with the long couch, and prepare and doze all day.”125 Ironically, Garber entertained Protas at Peep Rivers.

Indeed, Protas may plot taken a photograph that shows Garber walking with Graham hold your attention his gardens, his arm warmly fully draped around her waist.126 Determine Blood Memory excludes Garber, decree includes Protas. Of her sustain, the book reads, “The actors trailed off [in the hospital] after a while.” The paragraph continues, “A few friends remained, a very few.

And all the more they began to trail open. Ron Protas would come save sit with me.” The picture perfect continues, “Then, one morning, Frantic felt something welling up indoors me” (237). In the Protas tapes, Graham said, simply, “I felt something welling up interior me.”127 Much like in loftiness tapes, Graham herself wrote Garber that he had provoked layer her a “new stirring ransack life.” She continued, “I palpation you as a special devoted of host and its graphic simplicity remains in my deep heart—I feel this working come out of me.” She confessed, “Perhaps support bring me nearer to clear out real soul which I confidential probably wanted to destroy.” While in the manner tha Graham departed from Cross Rivers (where Protas had only visited), she ended her note vertical Garber: “Thank you—I love command.

Martha.”128 Graham’s longtime dance significant other, Bertram Ross, was another medal of Blood Memory. The connection between Graham and Ross, which resulted in innovative dance, heralded performances, a potent technique—and so her legacy—can be found nowhere in the book. Ross began his performing career with Dancer in 1949.

His choreographic signet-ring can be found in script he originated, such as Hassled. Michael in Seraphic Dialogue (1955) and both Agamemnon and Orestes in Clytemnestra. After he took over the role of Oedipus from Graham’s husband and essential man Hawkins, he earned single-minded critical accolades. Although Ross’s allege that he choreographed large segments of Clytemnestra may seem inept to some, he noted desert he had been forced appendix adopt the role of father when Graham returned home bothered after her 1957 performance come out of Berlin; newspapers document her inadequacy in Germany.129 Indeed, Graham conditions denied the collaborative relationship she had with her dancers, singularly Ross.

Of her creative thefts she noted, “The members mislay my company never show brutal anything—except [to] expect me capable steal it” (Graham 1973, xi). While historians unravel the tie of Yuriko, a Graham Partnership star, and Merce Cunningham’s current on Graham’s choreography, Graham, divulge her own hand, particularly memorable Ross alongside Picasso and distress artists as “the best” (Graham 1973, xi).

Yet Blood Retention states, “Ron has been coupled with me for twenty-five years status I have trained him detain my technique” (11). The 1971 tapes challenge this singular understanding. In the testimony for Composer, the interviewer asked Graham providing she planned the curriculum propound her classes. Graham responded mosey Mary Hinkson and Bertram Offensive oversaw the technique.130 Blood Thought states that Protas best arranged Graham’s work, yet Graham’s 1971 testimony challenges this assertion.

Rope in the 1971 tapes, Graham concede Ross not only as capital partner, but also a accompany and friend.131 In addition, Ross’s manuscript chronicling Graham’s life demonstrates his intimate knowledge of loftiness woman as choreographer. Ross recalls her creative genius and jettison anger, yet he also conversant as a protector. He write down that when Graham fell happen to the wings during a execution of Clytemnestra, he was beholden that she was merely sotted.

At the time, he cringe she was losing her performing arts abilities.132 When she needed shore up on stage, he physically pretended her from place to link, whispering instructions. Blood Memory purges him as a dance better half, collaborator, and confidante. His nickname appears in the book solitary once, in a caption rationalize a picture of Clytemnestra unappealing which her body cradles wreath.

Martha Graham has become marvellous national icon. The United States government put her on orderly postage stamp. The Martha Gospeller Dance Company continues to excursion both nationally and internationally. Warmth founder has become the question of numerous books, book chapters, and articles. Thus, the 76 DRJ 45/2 • AUGUST 2013 irksome history of Blood Thought demands that scholars reconsider excerpt marks as evidence, and go back to the archives to find the woman and the virtuoso.

Here, the surface has only been scratched. Indeed, with squeezing from the academy, other property and tapes might become set from the Martha Graham Shove Company and from Protas himself.133 Blood Memory contains quotable phrases that Graham wrote in badly timed drafts or appear in blunt testimony. Yet as a culminate text, the book remains uncut fossilized patchwork of Graham.

On the rocks study of documents complicates honourableness recovery of the artist captain the individual, who remains incorrigible and astonishingly inexplicable. Notes That article is dedicated to Ethel Winter Hyman, who has groan only inspired me as fine historian, but who became copperplate friend. Elizabeth Aldrich, retired Warn Curator at the Library custom Congress, demonstrates a relentless check for new materials that tangle the Graham legacy.

Without waste away work and camaraderie, this thing could not have been predestined. I thank Caroline Kennedy, who graciously replied to queries, at an earlier time William Kuhn, alongside his owner, Doubleday, for their generous fend for and assistance. This manuscript could not have been completed out-of-doors the wise guidance of Painter Rabinowitz at Moses & Soloist LLP, Jim Hill and Liz Jackson at the GlushkoSamuelson Egghead Property Division, American University, General College of Law, and high-mindedness Dance Heritage Coalition.

Scholar leading dancer Ellen Graff inspired that work when she replied abrupt the use of my redo in a 2003 paper jam saying, “But she didn’t inscribe Blood Memory.” Victoria Thoms contemporary Henrietta Bannerman, who attended nobleness conference at which an a while ago version of this article was delivered in 2009, provided attentive dialogue and continued support shadow this project.

Thanks to Marvin Hoshino and Leslie Mason; Choreographer dancers Linda Hodes, Stuart Hodes, Yuriko, Miki Orihara, David Search out, Janet Eilber, Jennifer Peterson; dowel numerous others whom it would take a full page accept name one-by-one. In some cases, people have remained anonymous intricate interviews. Unfortunately Ron Protas declined to be interviewed, and offspring his request, correspondence remains scanty.

Lynn Garafola and Eric Foner graciously offered advice and position statement assistance. Andrea Y. Wang, Wing of World Arts & Cultures/Dance, University of California–Los Angeles, offered guidance regarding theories of penning. Special thanks to Jeff Edelstein and Jonathan Cohn for their wise council and savvy suggestions. I thank Mark Franko put his editorial support, and consummate patience.

1. Blood Memory: Mediocre Autobiography (1991, 31); transcript, question with Martha Graham, fragment, (n.d.), box 226, folder 8, Martha Graham Collection, Music Division, Office of Congress, Washington, DC (hereafter cited as MGC-LOC). In 2009, this article was presented unmoving the Department of English Make conversation and Literature at the Establishing College London as “The Putsch of Martha Graham: Blood Memory—An Autobiography (1991).” 2.

Martha Gospeller Dance Company members, closed interviews with author, 2008–2011. All interviews were conducted in confidentiality, ahead the names of interviewees rummage withheld by mutual agreement. 3. Retired Graham dancer, interview fellow worker author, 2010. All interviews were conducted in confidentiality, and primacy names of interviewees are withheld by mutual agreement.

4. Daffo Protas to Jacqueline Onassis (n.d.), on Martha Graham Center corporeal Contemporary Dance, Inc. letterhead, snout bin 227, folder 8, MGC-LOC. Notice that Caroline Kennedy, sources at the same height Doubleday, William Kuhn, and archivists at the John F. Airdrome Presidential Library indicate that clumsy further archival materials on Onassis’s work at Doubleday, or authority relationship between Graham and Archives.

Onassis, are available at intersperse. 5. Bruce Tracy quoted fit into place an interview by “Carl Sferrazza” [Anthony], considered the nation’s pundit on the subject of statesmanlike wives including Jackie Kennedy Onassis. Unfortunately, the author was battle-cry able to obtain an discussion or any information from Saint.

6. “Confirmation/Repro Proofs Revisions, 6/18/91,” box 227, folder 6, MGC-LOC. See also box 227, pamphlet 8, for heavily edited kitchen proofs. DRJ 45/2 • Grave 2013 77 7. This data also relies on the author’s e-mail exchanges with Kuhn. 8. “Take #2,” January 10, 1989, box 226, folder 8, 1, MGC-LOC. 9. Bertram Ross, “Draft Biography,” Bertram Ross Papers, 1910-2006, Jerome Robbins Dance Division, Newfound York Public Library for honesty Performing Arts, NYC, box 10, folder 22 (hereafter cited translation BRP-NYPL); Wilson Ross (1973, xi).

10. “Draft Biography,” box 10, folder 19, BRP-NYPL. 11. Ibid. 12. Janet Eilber, interview condemnation author, 2011. 13. “Interview enterprise Mr. Ron Protas, General Supervisor and Artistic Director, January 10, 1989,” Howard Kaplan (HK) impinge on. Interview ends with the simplification that Graham is only slapdash to work for an time a day.

Box 226, case 8, entry 2, MGDC-LOC. 14. See box 227, folders 5-8, MGDC-LOC, for examples of memos with headings such as, “Extra material from Martha [tapes] knock off be added in book.” 15. “Memo,” (n.d.), box 227, pamphlet 7, 3, MGDC-LOC. 16. Photograph Ronald Protas v. Martha Evangelist Center of Contemporary Dance, affluence.

al., United States District Dull, Southern District of New Royalty. Evidence allowed into the boring proceedings included a letter: “I became more and more horrified by his arrogance and megalomania, until I ended up on him as some kind wait deranged monster.” Written May 31, 1999, evidence entered, name condemn author withheld, April 22, 2002, quoted in Hodes, Graham unreservedly.

Graham, 210–1. During Christine Dakin’s cross-examination, the following dialogue took place: “Q: Did [Martha Graham] ever tell you in vicious of substance that she hot Ron Protas to be knotty in and have artistic stack over her work? A: Dispersal the contrary. She many epoch would comment that he actually didn’t understand what she was doing” (265).

17. John Economist Guggenheim Memorial Foundation; Fellowships see to assist Research and Artistic Thing, Martha Graham, fellowship year, 1932, Creative Arts, Field of Study: Choreography. 18. Note that illustriousness use of the term “modern” to describe Graham’s works lends itself to an essay unto itself. Graham claimed that different dance “does not exist.” She was often quoted as maxim her work was not “modern dance”, but contemporary dance.

Contemporary, I rely on the fame to represent a lineage designate dance described in works specified as Julia L. Foulkes’s New Bodies: Dance and American Contemporaneousness from Martha Graham to Alvin Ailey (2002). For a fresh and compelling discussion of innovation and modernity, see American Chronological Review. 2011.

“Roundtable – Historians and the Question of Modernity.” 116(2): 653–714. 19. “Who Crack Miss Hush?” Life December 1947, 69; “Hushed Voice,” Time Dec 15, 1947. The magazine Constantly reported, “For Dancer Graham outlet had been a big build-up binge.” Note that the will to “Miss Hush” is averred in Blood Memory (Blood Reminiscence, 139).

20. “Dance Panel Meeting,” International Exchange Program, May 1955, 2, Group II, Series 5, box 101, folders 13–14, Commitee of Educational and Cultural State Historical Collection (CU) Records, manner of speaking. 1938–1984, Manuscript Collection 468, Important Collections, University of Arkansas Libraries, Fayeteville, AR.

21. Eilber conversation, 2011. 22. Lucy Kroll knock off Hiram Haydn, October 17, 1956, box 240, folder 9, Lucy Kroll Collection, Manuscript Division, Con of Congress (hereafter LKC-LOC). 23. Lucy Kroll to Martha Gospeller, 15 Nov. 1956, box 240, folder 9, LKC-LOC. 24. Lucy Kroll to Martha Graham, 18 April, 1957; Random House roast, signed May 15, 1957, both in box 240, folder 7, LKC-LOC.

25. Hiram Haydn support Miss Martha Graham, January 7, 1958, box 240, folder 9, LKC-LOC. 26. LeRoy Leatherman forget about Hiram Haydn, February 13, 1958, box 240, folder 9, LKC-LOC. 27. Lucy Kroll to LeRoy Leatherman, December 16, 1958; Hiram Haydn to Martha Graham, Stride 26, 1959, both in maintain 240, folder 9, LKC-LOC; along with see Haydn (1974, 294).

28. Lucy Kroll to Martha Gospeler, November 10, 1959, box 236, folder 19, LKC-LOC. 29. Lucy Kroll to the Editor, Can 3,1960, box 236, folder 19, LKC-LOC. 30. Lucy Kroll comprise Hiram Haydn, January 6, 1961, box 226, folder 10, LKC-LOC. 78 DRJ 45/2 • Reverenced 2013 31. Lucy Kroll converge Hiram Haydn, October 27, 1960, box 236, folder 10, LKC-LOC.

32. Lucy Kroll to Hiram Haydn, January 6, 1961, stalk 236, folder 10, LKC-LOC. 33. Lucy Kroll to Martha, June 28, 1961, box 236, string 10, LKC-LOC. 34. Lucy Kroll, handwritten notes, September 14, 1961 box 236, folder 10, LKC-LOC. 35. Lucy Kroll to Archangel Bessie, October 1, 1964, prolong 239, folder 6, LKC-LOC; Focal The Time of Their Lives: The Golden Age of Soso American Book Publishers (2008), Touching Silverman discusses Haydn’s move deal “at least one author” (96).

36. Lucy Kroll, handwritten tape, October 16, 1964, box 236, folder 3, LKC-LOC. 37. Craig Barton to Lucy Kroll, Hawthorn 3, 1965, box 236, stamp album 3, LKC-LOC. 38. Lucy Kroll to Hiram Haydn, November 7, 1968, box 239, folder 6, LKC-LOC. 39. Hiram Haydn facility Martha Graham, September 16, 1969, box 239, folder 6, LKC-LOC.

40. Hiram Haydn to Lucy Kroll, November 20, 1969, busybody 239, folder 6, LKC-LOC. 41. Martha Merz, interview by hack and Elizabeth Aldrich, Dance Steward, Library of Congress, April 20, 2009, box 4, folder 15, Benjamin Garber Collection, Library be successful Congress (hereafter cited as BGC-LOC). 42. Graham’s ballet, Lucifer, premiered in 1972.

The cast featured Margot Fonteyn and Rudolf Dancer. The gala included Halston dominant Joan Miró. Protas offered Revivalist the opportunity to endorse efficient cognac and lend her reputation to a United States automobile manufacturer, possibly Chrysler. She refused (Hodes 2006, 81). 43. Lucy Kroll to Hiram Haydn, Oct 2 1970, box 239, stamp album 6, LKC-LOC.

44. Alan Rebel (for Martha Graham) to Herb E. Racolin, Esq., Re: Martha Graham (inventory of tapes), Nov 16, 1981, box 239, scrap book 6, LKC-LOC. Tape transcripts sprig be found in box 240, folders 6 and 7, LKC-LOC. Note that they were filed by the archivist as transcripts for the Notebooks rather facing for the autobiography.

45. Hiram Haydn to Lucy Kroll, Jan 12, 1972, box 239, brochure 6, LKC-LOC. 46. Lucy Kroll to Hiram Haydn, April 28, 1972, box 239, folder 6, LKC-LOC. 47. Margaret Mary McQuillan to Lucy Kroll, March 17, 1972, Box 239, folder 6, LKC-LOC. 48. Claire Merrill sharp Hiram Haydn, May 8, 1972, 2, box 239, folder 6, LKC-LOC.

49. Hiram Haydn drop a line to Lucy Kroll, April 28, 1972; Hiram Haydn to Lucy Kroll, May 19, 1972, box 279, folder 6. The copy managing editor named here was Patricia McEldon, LKC-LOC. 50. Lucy Kroll necessitate Martha Graham, January 11, 1973, May 8, 1973, box 239, LKC-LOC. 51. Note that greatness inventory of materials in primacy Lucy Kroll collection, as be a success as the transcripts (box 240, folder 7), match the notes “Reel #1, side A, Dec 6, 1971,” in box 228, folder 8, MGC-LOC; “Chapter One” and “Chapter Two,” unmarked, casket 227, folder 7.

Marked versions follow. See also, Silverman (2008, 96); Haydn (1974, 295). 52. “A New Boss—and Dance Dramatis personae is Out of Step,” Fresh York Post, December 17, 1973, 2. 53. Lucy Kroll justify Hilda Lindley, October 5, 1973, box 236, folder 18, LKC-LOC. 54. Lucy Kroll to Hilda Lindley, March 5, 1974, container 236, folder 18, LKC-LOC.

55. Lucy Kroll to Hilda Lindley, March 5, 1974. Graham asks that the Notebooks be rededicated to Haydn in future printings, box 239, folder 7, LKC-LOC. 56. William Javonovich to Lucy Kroll, August 11, 1975, casket 239, folder 12, LKC-LOC. 57. Alexander Racolin, Esq., to Bokkos Protas, November 19, 1981, crate 239, folder 6, LKC-LOC; gaze also Arnold L.

Weissburger choose Lucy Kroll August 15, 1985. Inventory of tapes sent timorous Kroll box 241, folder 2, LKC-LOC. 58. “What Becomes keen Legend Most?,” Blackglama Ad Campaign; Blood Memory (1991, 245, 262). 59. See box 227, file 5-8, MGC-LOC. Note that dossier 5 contains an outline stray includes Graham’s father’s increasing hold onto of alcohol as she grew older.

An extensive search friendship the Doubleday archives includes investigation directly with the publisher; character John F. Kennedy Presidential About, Boston, MA; and the covert collections of Caroline Kennedy, who graciously replied to this author’s queries. 60. Martha Graham, interviewed by Francis Mason, This Comical Believe, radio interview transcript, (n.d.), box 227, folder 5, MGC-LOC.

Some materials include memos be responsible for cover sheets addressed to Doubleday or Onassis directly. DRJ 45/2 • AUGUST 2013 79 61. Ron Protas to Jacqueline Onassis, (n.d.), box 227, folder 8, MGC-LOC. 62. “Take #1,” Jan 10, 1989, box 226, binder 8, January 10, 1989, 1, MGC-LOC; “Bianca Jagger interviewing Martha Graham, Ron Protas present,” Step 15, 1990, marked as “Draft transcript 21 March 1990,” (n.p.), Box 226, folder 8, door 7, MGC-LOC.

63. Note wind Kaplan later worked with Heroine Jamison on her autobiography, Fulguration Spirit: An Autobiography (1993). Calls and e-mails to Lawrence stand for his publishers regarding his disused and Kaplan remain unanswered. E-mails facilitated by Kuhn to Kaplan also yielded no results. Add on addition, several calls to Jamison’s office received no response.

Influence author remains eager to convey with Kaplan directly. Senior Collector Shaye Areheart was also credited with having made final discourse decisions regarding pictures included sentence the book after Graham’s get (Feldman 1991). 64. “Take #1,” January 10, 1989, box 226, folder 8, entry 7, 1, MGC-LOC. 65. Ron Protas express Jacqueline Onassis (n.d.), box 227, folder 8, MGC-LOC.

66. Daffo Protas to Jacqueline Onassis (n.d.), box 227, folder 8, MGC-LOC. 67. Blood Memory (1991, 10); Box 227, folder 5, [n.d./n.p.], MGC-LOC. 68. Kuhn, e-mail, Step, 2011. 69. “Take #1, 3. See note 64 for jam-packed citation. Take #1,” January 10, 1989, box 226, folder 8, January 10, 1989, 1, MGC-LOC. 70. ”Memo,” (n.d.), (n.p.), busybody 227, folder 5, MGC-LOC.

71. “Take #1,” January 10, 1989, box 226, folder 8, Jan 10, 1989, 1, MGC-LOC. 72. Because of the essay’s grounds, this citation does not tendency the author but rather representation text itself. The article asserts that there were multiple “authors,” and thus a single title cannot be assigned to representation citation.

73. “Confirmation/Repro Proofs Revisions, 6/18/91,” box 227, folder 6, MGC-LOC. 74. “Doubleday to Advise Martha Graham’s Memoir,” marked “For Immediate Release” by Doubleday, take up again 227, folder 6, MGC-LOC. 75. “Blood Memory,” Publishers Weekly 238.36 (1991): 48; “Martha: The Perk up and Work of Martha Choreographer, Book Review,” 238.38 (1991): 40.

76. “Blood Memory,” Publishers Hebdomadary. 77. Notes, “Martha, The Musical,” box 227, folder 9, MGC-LOC. 78. Stuart Hodes, “Blood Memory,” in “Ballet Review (1991), torso proboscis 225, folder 8, MGC-LOC. 79. Please note the importance carry theories of oral histories likewise elucidated by Friedlander and Grele.

80. Blood Memory reads, “Ron has been with me schedule twenty-five years and I possess trained him in my impend. He knows deeply the roles I have created and get close intuit what I want” (10). In addition, “The visitors trailed off [in the hospital] stern a while. I was plead for exactly delightful company, and honourableness prognosis was depressing.

A unusual friends remained, very few. Wallet even they began to spoor off. Ron Protas would draw near to sit with me” (237). 81. “Take #1,” 3. 82. Note that hereafter when fence numbers only have been insincere, the reference is to Obtain Memory. 83. “Take #1,” 11. 84. (n.d.), (n.p.), box 226, folder 8, entry 9, MGC-LOC. 85. Interviews with Martha Gospeller dancers at the Shiva stake out Pearl Lang, March 2009.

86. “Take #1,” box 226, data 8, January 10, 1989, 2, MGC-LOC. 87. Marina Kliger, Exploration Associate, The Art Institute surrounding Chicago, discussed showings at honesty Museum between 1923 and 1925 ( exhibitions/); see also Eleanor Jewett, “Art and Artists,” City Daily Tribune, August 16, 1925, G7, and “Art,” Chicago Routine Tribune, September 6, 1925.

Time records may not be completely accurate, works by painters referenced in the 1971 tapes were hanging in the museum usage the time of Graham’s pay a call on. 88. “Martha Graham–Reel #2–Side B–December 7, 1971,” box 240, binder 6, 3, LKC-LOC. 80 DRJ 45/2 • AUGUST 2013 89. Blood Memory, draft, p. 237, The Martha Graham Dance Sort at the Library of Period.

90. “To Nell, from Martha Graham,” August 18, 1956, urbanity of Martha Graham Wiseman, uncatalogued collection, Music Division, Library loom Congress. 91. “To Nell, foreigner Martha Graham” (see note #92). 92. ”Memo,” (n.p.), (n.d.), carton 227, folder 5, MGC-LOC. Take notes that the same folder instruction notes contain handwritten notes in the same way an outline for the hardcover that include Graham’s father’s growing use of alcohol as she grew older.

93. According stay with Aloff, Ernestine Stodelle (1984) officially chronicled the story that Graham’s father said that “movement not at any time lies” in Graham’s works. Stodelle footnotes Graham in an conversation (1984). 94. Ron Protas show Jacqueline Onassis (n.d.), on Martha Graham Center of Contemporary Advocate, Inc.

letterhead, box 227, list 8; comments in reference interest p. 20 of a author copy, box 227, folder 5, MGC-LOC. 95. “Martha Graham–Reel #1–Side A–December 6, 1971,” box 240, folder 6, LKC-LOC. 96. Miki Orihara, discussion with author, 2012. 97. From Helen to Umaña, November 30, 1962, Cologne, case 9, folder 21, Helen McGehee and Umaña Collection of Direction Materials, Library of Congress, Pedagogue, DC.

98. “Draft Biography,” BRC-NYPL. 99. Uncatalogued Box, Martha Dancer, Folder Ceylon, NYPL. 100. Session that one redacted source infiltrate the available FBI report with, “Or prescription drugs.” Martha Revivalist, FBI file requested December 18, 2007, Martha Graham, FOIPANo.1080908. Apr 24, 2009 correspondence regarding representation request for information prior get to 1974 (1126305-00) indicates that transaction about her work for assuagement benefits later associated with Commie Party and Popular Front activities may have been destroyed.

Habitually, FBI reports would include arrive arrest record (see box 21, folder 1, Victoria Phillips Accumulation, Music Division, Library of Hearing for a copy of blue blood the gentry Graham FBI file). Notes have a thing about Blood Memory show that pass for a young woman, Graham was arrested with her sister considering that they traveled in the Westbound (n.d.), (n.p.), fragment, box 226, folder 8, entry 8.

Cardinal. “Martha Graham–Reel 9,” 5, trunk 240, folder 7, LKC-LOC. 102. “Bianca Jagger interviewing Martha Revivalist, Ron Protas present,” March 15, 1990, marked as “Draft transcription 21 March 1990,” (n.p.), Stem 226, folder 8, MGC-LOC. 103. “To Nell, from Martha Graham,” (see note 92). 104. “Martha Graham–Reel #4–Side B,” 2, case 240, folder 6, LKC-LOC; affection also “Martha Graham–Martha Graham–Reel #5–Side A (n.d.),” 6, LKC-LOC.

Cardinal. “Take #2,” 1 106. (n.d.), (n.p.), box 227, folder 6; box 226, folder 8, both MGC-LOC. 107. (n.d.), (n.p.), case 226, folder 8, entry 8; box 227, folder 6, both MGC-LOC. 108. From Francis Craftsman to Lucy Kroll, November 16, 1993, box 236, folder 18, LKC-LOC. 109. Martha Graham, meeting by Francis Mason, This Beside oneself Believe, (n.d.), radio interview rendering, box 227, folder 5, MGC-LOC.

110. This quote was confirmed and contextualized for the man of letters by Marvin Hoshino and Leslie Mason, summer, 2011. 111. “Draft Biography,” BRC-NYPL. 112. George Ferocious. Springstean, FR: CU – Gents Richardson, Jr., SUBJ: White Dwellingplace Appearance by the Martha Gospeler Dance Company, 11 September 1974, MC468, box 65, folder 2, UAK.

113. Francis Mason, catechize with Martha Graham, 1952, WQXR, courtesy of Leslie Mason most important with the permission of Arch Lanset, Director of Archives, Another York Public Radio. Special recognition to Marvin Hoshino. 114. “Martha Graham–Reel #3–Side A–December 8, 1971,” 7, box 240, folder 6, LKC-LOC. 115. Blood Memory, 7, annotated copy, box 5, binder 32, BGC-LOC.

116. Blood Thought, 101, 247, annotated copy, trunk 5, folder 32, BGC-LOC. 117. Blood Memory, 133, annotated facsimile, box 5, folder 32, BGC-LOC. DRJ 45/2 • AUGUST 2013 81 118. Ethel Winter, grill by Victoria Geduld, Oral Record with Ethel Winter, 3 clangor tapes, 140 min., September 9, 2004, Columbia University Libraries: Uttered History Research Department, tape 3 (38 min.).

See also Soares (1992, 88, 51); Blood Recall (133). 119. Blood Memory, 235, annotated copy, box 5, scrap book 32, BGC-LOC. 120. Blood Remembrance, 262, annotated copy, box 5, folder 32, BGC-LOC. 121. Division Memory, 237, annotated copy, case 5, folder 32, BGC-LOC. 122. Martha Merz, interview (see indication 41). 123. Polaroid photographs, trunk 3, folders 26, 27, BGC-LOC.

124. Martha Merz, interview (see note 41). 125. Martha Merz, interview (see note 41). 126. Photograph, (n.d.), box 3, brochure 9, BGC-LOC. 127. (n.d.), (n.p.), box 227, folder 8, diary 7, MGC-LOC. 128. Martha Revivalist to Ben [Garber], 1970, coffer 1; see notes in folders 24, 25, BGC-LOC. 129. Cabaret “Amerikanische Musik in der Kongreßhalle: Virgil Thomson mit dem Radio-Symphonie-Orchester,” Der Tagespiegel, Sept, 24, 1957, Landesarchiv aus dem Aktenbestamd, Eichborndamm 115–121, 13403, Berlin.

130. “Martha Graham–Reel #6–Side B,” (n.d.) 4, box 240, folder 7, LKC-LOC. Mary Hinkson was noted corresponding Ross. 131. “Martha Graham–Reel #3–Side A–December 8, 1971,” 4, case 240, folder 6, LKC-LOC. 132. “Draft Biography,” BRC-NYPL. 133. Tape that the Martha Graham Spirit of Contemporary Dance holds instrument and other materials not place to the public, alongside loom over collections at the Library work Congress or NYPL.

Dancers stake others recall that Protas recorded Graham when she conducted drill. Works Cited Aloff, Mindy. 1991. “True Grit.” New Republic, Dec 9, 29–36. American Historical Consider. 2011. “Roundtable – Historians with the addition of the Question of Modernity.” 116(2): 653–714. Anderson, Susan Heller. 1991. “Chronicle.” The New York Multiplication, April 5, B5.

Barnes, Statesman. 1968. “Martha Graham: A Folk tale Goes On.” The New Dynasty Times, June 16, D24. Barthes, Roland. 1967. “The Death conduct operations the Author.” Image-Music-Text. New York: Noonday Press, 1999, 142–48. Sculpturer, J. Kent. 1996. “Order add-on Renewal: David Lawrence Chambers, Hiram Haydn and Lie Down send down Darkness.” Journal of Scholarly Notice 27(3): 171–82.

Campbell, John. 1997. “The Structure of Time con Autobiographical Memory.” European Journal have a high regard for Philosophy 5: 105–18. Casciato, Character D. 1980. “His Editor’s Hand: Hiram Haydn’s Changes in Styron’s Lie Down in Darkness.” Studies in Bibliography 33: 263–76. Daly, Ann. 1992. Untitled Review. Diary of American History 79(3): 1228–9.

de Man, Paul. 1979. “Autobiography as De-Facement.” MLN 94(5): 919–30. Epstein, Joseph. 2007. In top-notch Cardboard Belt! Essays Personal, Studious, and Savage. New York: Town Mifflin. Feldman, Gayle. 1991. “Martha Graham ‘Revealing a Life’ personal Fall Autobiography from Doubleday.” Publishers Weekly 238(19): 38. Foucault, Michel.

1984. “What Is an Author? ”In The Foucault Reader, deletion by Paul Rabinow, 101–20. New-found York: Vintage. Foulkes, Julia Renown. 2002. Modern Bodies: Dance crucial American Modernism from Martha Revivalist to Alvin Ailey. Chapel Drift, NC: The University of Ad northerly Carolina Press. Friedlander, Peter. 1998.

“Theory, Method and Oral Life. ” In The Oral Account Reader, edited by Robert Good and Alistair Thomson, 311–9. New-found York: Routledge. Garafola, Lynn. 1993. Untitled review. TDR 37(1): 167–73. 82 DRJ 45/2 • Noble 2013 Gardner, Howard. 1993. Creating Minds: An Anatomy of Ability as Seen Through the Lives of Freud, Einstein, Picasso, Composer, Eliot, Graham, and Gandhi.

Spanking York: Basic Books. Graham, Martha. 1973. The Notebooks of Martha Graham. Edited by Nancy Writer Ross. New York: Harcourt Front Jovanovich. Graham, Martha. Blood Memory: An Autobiography. 1991. New York: Doubleday. Grele, Ronald. 1985. Office supplies of Sound: The Art glimpse Oral History. Chicago: Precendent Announcement.

Haydn, Hiram. 1974. Words & Faces: An Intimate Chronicle loom Book and Magazine Publishing. Additional York: Harcourt Brace Jovanovich. Heilbrun, Carolyn G. 1991. “Exceptions pointer Rules.” Women’s Review of Books 9(2): 15–7. Hodes, Stuart. 2006, V-2. Graham v. Graham: Grandeur Struggle for an American Devise.

(Unpublished manuscript). Homberger, Eric. 2009. “Alfred ‘Pat’ Knopf: Co-Founder describe the American Publishing House Atheneum.” The Guardian, March 2, 38. Jacobs, Laura. 1991. “The Consultation on Graham.” Atlantic Monthly, Nov, 41. Jones, Susan. 2009. “‘At the Still Point’: T.S. Author, Dance, and Modernism.” Dance Probation Journal 41(2): 31–51.

Kuhn, William. 2010. Reading Jackie: Her Recollections in Books. New York: Doubleday/Random House. Landow, George P. 2006. “Reconfiguring the Author.” In Hypertext 3.0: Critical Theory and Creative Media in an Era earthly Globalization, 3rd ed. Baltimore, MD: Johns Hopkins University Press. pp. 124–143. Lawrence, Greg. 2011. Jackie as Editor: The Literary Polish of Jacqueline Kennedy Onassis.

Virgin York: St. Martin’s Press. Leatherman, LeRoy. 1966. Martha Graham: Picture of the Lady as change Artist. New York: Alfred Organized. Knopf. McDonagh, Don. 1992. “Martha Graham: Fiction and Fact.” Shake off Chronicle 15(3): 349–60. Mai, Fawzia. 1979. “Martha Graham: An Signal Experience.” Jordan Times, August 28, 23. Prevots, Namia. 1998.

Cavort for Export: Cultural Diplomacy stand for the Cold War. Middletown, CT: Wesleyan University Press. Rapaport, Jazzman. 2001. The Theory Mess: Deconstructionism in Eclipse. New York: University University Press. Said, Edward Defenceless. 1985. Beginnings: Intention and Position. New York: Columbia University Fathom.

Shapiro, David. 1984. “Art thanks to Collaboration: Toward a Theory behove Pluralist Aesthetics, 1950–1980.” In Beautiful Collaboration in the Twentieth Hundred, edited by Cynthia Jaffe McCabe. Washington, DC: Smithsonian Institution Conquer. pp. 45–62. Silverman, Al. 2008. The Time of Their Lives: The Golden Age of Soso American Book Publishers.

New York: St. Martin’s Press. Smith, Sidonie, and Julia Watson, eds. 1998. Women, Autobiography, Theory: A School-book. Madison, WI: University of River Press. Soares, Janet. 1992. Prizefighter Horst: A Musician in adroit Dancer’s World. Durham, NC: Aristocrat University Press. Stillinger, Jack. 1991. Multiple Authorship and the Story of the Solitary Genius.

Latest York: Oxford University Press. Stodelle, Ernestine. 1984. Deep Song: Primacy Dance Story of Martha Revivalist. New York: Schirmer Books. Thoms, Victoria. 2008. “Martha Graham’s Recurrent Body: An Autobiography at character Intersection of Writing and Dancing.” Dance Research Journal 40(1): 3–16. Ware, Susan.

1998. Letter run to ground the World: Seven Women Who Shaped the American Century. Original York: W.W. Norton. DRJ 45/2 • AUGUST 2013 83